追踪衰败:印刷和运动图像中的图像退化研究

李晓巧, 伍妍婧^*

(香港都会大学艺术与社会科学学院创意艺术系, 香港 000000)

摘要: 本论文研究影像衰变如何通过错视现象 (apophenia) 和痕迹的相互作用产生新的视觉形式。在艺术领域传统学科界限消融的背景下, 当代版画已发展成为跨媒体创作实践, 超越了传统艺术的限制。本研究不是着眼于传统版画的版次制作, 而是采用多种方法降解同一印刷图像的表面图层, 以此探讨当图像降解与动态影像编辑技术结合时如何产生新的美学成果。 在研究方法上, 本研究对版画和动态影像的材料特性、表面特征和时间维度进行比较分析。通过反复的印刷循环、实体印刷图像的再造、拍摄和重印, 图像逐渐衰变并积累了多层转变。这个过程解构了原始图像, 产生了新的视觉模式和含义, 这得益于错视现象的运用———一种在随机或模糊数据中产生意义并形成模式的艺术探索方法。通过有意降解图像的过程, 残留的痕迹和碎片形式刺激观众的想象力, 让观众感知新的美学想象, 扩展媒介的创作潜力。 本研究将动态影像编辑整合到图像衰变过程中, 展示了如何将版画的静态特质转变为集版画和时间艺术特征于一体的“印刷动态影像”。动态影像编辑过程捕捉了图像衰变的每个阶段, 再以数字编辑工具给图像创建时间轴。这种融合挑战了版画和动态影像之间的传统区分, 突显了数字时代版画的演进和多样性。 本研究发现, 衰变过程与动态影像编辑相结合后创造了一个既独立又富有整体性的视觉语言表达系统。本文强调“版画”不仅是静态实体, 还可以演变为“印刷动态影像”, 以此连接静态版画和动态影像两个概念。这种方法扩展了当代版画领域, 运用多种视觉语言和实践以呈现版画这一艺术媒介的跨学科潜力。研究强调了图像衰变作为艺术实践变革过程中一个重要的实践方法, 即是将衰变视为解构和重构的方式, 鼓励艺术家以此释放新的创作潜力。 研究强调在当代语境中重新定义传统艺术方法的重要性, 为当代艺术中有关数字文化和图像演变的广泛讨论做出贡献。以错视现象和痕迹的相互作用为重点, 本研究丰富了艺术界内的对话, 为艺术及相关领域的探索提供新的思考。版画和动态影像编辑的融合挑战了传统艺术的范围, 发掘了版画的动态性质, 为数字时代的艺术表达提供了新的可能性。

关键词: 图像衰变, 错视现象, 动态影像编辑, 当代版画, 视觉语言整合

DOI: 10.48014/aas.20241120001

引用格式: 李晓巧, 伍妍婧. 追踪衰败: 印刷和运动图像中的图像退化研究[J]. 艺术学研究进展, 2024, 1(1): 79-92.

文章类型: 研究性论文

收稿日期: 2024-11-20

接收日期: 2024-12-03

出版日期: 2024-12-28

1　Introduction

“The blurred division of art disciplines seen over the 20th century finally became a reality.Sculpture，painting，design and drawing ceased to denote disciplines of art，but have begun defining methods of action that can be performed in the city space，upon a landscape，on a canvas or even in the virtual and digital world.” ^[1]

With the dissolution of disciplinary boundaries in the arts，the field of contemporary printmaking has evolved into a cross-media creative phenomenon，reflected in the expansion of conceptual understanding and presentation of the print medium.One could argue that transmedia creation is not exclusive to contemporary printmaking but is a widespread occurrence throughout contemporary art.So，in what ways is the expansive nature of printmaking distinctive or different from other developments in the art field?

According to Paul Coldwell^[2]，“printmaking is wonderfully positioned to provide a space where crossovers between ideas，technology，and process can occur.” Coldwell' s perspective is rooted in the medium' s unique characteristics and its interaction with images.Traditionally，completing a piece of work in printmaking involves a transformative process that encompasses sketching，plate-making，and printing.Throughout this process，the image undergoes several transformations before reaching its final form.Because of this transformative nature，printmakers must apply rigorous，step-by-step logic and possess the ability to reuse and transform episodic artistic effects.

Similarly，printmaker Li Shuren^[3] states that printmaking，as an art form heavily affected by technical constraints yet significantly characterized by overall non-restrictiveness，possesses the potential for interdisciplinary crossover by employing multiple languages and actions.It is a specific medium where tradition and contemporaneity converge，and it is also an art form that is rich in innovation and experimentation.^[15]As the art of printmaking is inherently linked with printing technology，advancements in its technological aspects have often led to the expansion of how the medium is presented.

In this paper，we build upon these discussions by investigating how the decay process in printmaking can produce new images through the interplay of apophenia and residual traces.While Gali^[4] emphasizes that “what is particular to printmaking is fundamentally its nature of fixing a mark”，we interpret the printed mark as an indicator of temporality and an integral pattern of the printed moving image.The term ‘printed moving image’ refers to moving images created by utilizing printmaking' s inherent process of imprinting，where each frame is produced through the act of making an imprint.This study examines how image decay—the intentional deterioration or degradation of an image—can facilitate image deconstruction，leading to the creation of printed moving images.By embracing decay as a form of deconstruction，the content of an image is altered，allowing for new interpretations and visual possibilities.Rather than being a mere process of deterioration，decay here is a transformative method that generates additional visual material.

The decay process produces new images by interacting with apophenia and residual traces.In this context，apophenia refers to the capacity and imaginative power to perceive patterns that were not intentionally created.The residual traces left by the decaying image act as stimuli that enable viewers to discover unintended patterns and meanings.This interplay expands the potential of printmaking techniques，bridges the gap between static prints and dynamic moving images，and enriches the visual language of the medium.

The paper opens with comparative analysis of the material properties，surface characteristics，and temporal dimensions of prints and printed moving images.It then articulates the significance of image decay within the context of image deconstruction，investigating how the interplay of apophenia and trace can foster the emergence of new images.Finally，it delves into the interrelationship between conceptual considerations and material practices in printmaking and editing printed moving images.

2　The material properties，surface char acteristics，and temporal dimensions of prints and printed moving images

Traditionally，printmaking has been profoundly associated with the tangible qualities of materials and surfaces.The process hinges on creating an image on a plate and then transferring that image onto a substrate that is commonly paper.This transfer is not about merely replicating an image but involves a physical interaction between the plate and the substrate，where external pressure is applied to leave a mark.This pressure results in a unique surface texture on the printed image，which is closely linked to the materiality and physical attributes of the plate.

The relationship between the plate and the printed image is intricate.The material properties of the plate—whether metal，wood，or linoleum—affect the image in specific ways，such as convex or concave surfaces and the mirroring or copying of the plate' s structure onto the substrate.For instance，in intaglio printing，incised lines(concave areas)hold the ink and transfer it onto the paper，creating rich and textured lines.Conversely，in relief printing，the raised(convex)surfaces are inked and pressed onto the paper，leaving an impression that mirrors the plate' s surface.These physical interactions between the plate' s surface and the substrate are fundamental to the characteristics of the final image，resulting in variations in texture，depth，and even the tactile quality of the print.

Each printing technique requires different materials and manipulations that lead to diverse outcomes.The physicality of these processes means that the end result of an image directly manifests the interaction between the plate and substrate over time.This time-based process captures the essence of its creation moment.However，when discussing the materiality of printmaking and the traces it leaves，it is easy to overlook this temporal aspect.The final printed image is often static，and the dynamic process of creation becomes invisible，making the procedural nature difficult to perceive as it vanishes into production entirely.

In contemporary printmaking，the final rendering of a printed image is no longer confined to traditional materials such as paper with the assistance of digital technology.In other words，contemporary printmaking does not necessarily involve the tactile processes of plate-based printing.Digital prints eliminate the physical interaction between a plate and substrate，which in other words means that aspects of traditional printmaking such as convexity/concavity of surfaces and the mirroring textures，would no longer occur.However，to fully understand the significance and the differences introduced by digital printmaking，it is essential to first comprehend the specificities of traditional，non-digital printmaking.The absence of physical texture and material interaction in digital prints highlights how crucial these elements are to the traditional printmaking processes and how the omission of such attributes has transformed the nature of the printed image.

By appreciating the various ways that materiality has affected printed images—through the very surfaces and structures involved—we can better comprehend the fundamental shifts that digital technologies have brought to the field of printmaking.This understanding allows for a deeper appreciation of both traditional techniques and contemporary practices，acknowledging the medium' s evolution while recognising its origins' value.On the contrary，the processual nature of printmaking entails time-bound components，such as the time it takes to engrave the plate and the duration required for chemical etching.These time-dependent processes directly affect the outcome and the processes are reflected in the final printed image as variables like X，Y，and Z.Thus，while printmaking results in a static representation，the choice of materials and the time invested in each step are ultimately reflected in the surface texture of the final printed image.

In contrast to printmaking，the moving image is intrinsically a time-based medium representing materiality，surface，and temporality through motion.The materiality and surface qualities of moving images depend on the source footage and how it is presented.Scholars such as Gilles Deleuze have explored how cinema uniquely manipulates time and movement，allowing for dynamic expressions of temporality that static images cannot convey^[5,6].Mary Ann Doane also discusses the emergence of cinematic time and how it introduces new ways of perceiving temporality，fundamentally differing from static arts like print^[7].Therefore，when discussing moving images，it is essential to examine the medium’s particular trait of temporality.

The temporality of a printed still image versus the dynamic and visually perceivable temporality of moving images can be examined by two notions of time:physical and abstract.On a physical level，time refers to the actual duration consumed in creating and presenting the work.Abstractly，it encompasses the viewer' s perception of time while engaging with the piece.For instance，video works have specific durations that structure the viewer' s experience，but within this framework，viewers may perceive time subjectively，influenced by the content and rhythm of the work.

As Japanese artist Makino Takashi points out，cinema possesses unique qualities，particularly in its treatment of time and its relationship with the viewer^[8].Gallery visitors spend time with paintings or sculptures at their own discretion;cinema audiences，on the other hand，are bound by the film􀆳s runtime.While viewers experience the film' s visual and auditory presentation，they can immerse themselves in their imagination within the temporal constraints set by the moving image.The sense of time in moving images is thus a non-linear state of presentation;the duration of the work establishes a specific time frame within which the sense of time is freely accessible，flexible，and editable.

The use of print as a means of image decaying is processual，temporal and reliant on a consideration of material practices，as print media is inherently dependent on technical and material aids.Unlike the moving image in general，the printed moving image is both a printmaking extension and a time-based medium，which leads to a discussion of the overlapping characteristics of printmaking and the moving image.

3　The Role of Decay，Poor Image Theory， and Apophenia

In the digital age，the concept of the “poor image” has emerged as a critical framework for understanding the transformation and circulation of images.Hito Steyerl^[9]introduces the term “poor image” to describe images that are of low resolution，lack quality，are highly accessible，and have been re-downloaded and re-edited numerous times.Steyerl^[9] argues that the proliferation of the internet has facilitated the ease with which images can be distributed and manipulated，leading to a democratization of visual culture but also raising questions about quality and authenticity.

Placing Steyerl' s concept at the forefront，this study examines how the process of image decay—through deliberate destruction and reconfiguration during the printing process—serves as a method for generating new creative material for moving images.By understanding image decaying as analogous to the poor image' s lifecycle，we can explore the creative potential imbued in the degradation and transformation of images.

Lev Manovich^[10] discusses the fluidity of New media，emphasizing that in the digital realm，images are not fixed but are mutable and subject to continuous alteration.This variability aligns with the concept of image decaying，where the repeated manipulation and reprinting of an image has led to the emergence of new visual forms and meanings.Similarly，Vilem Flusser^[11] examines how technical images are produced and how they function within society.He suggests that the act of photography is essentially manipulative，and the produced images are abstractions that can be further deconstructed.This notion supports the idea that image decaying is a process that reveals underlying structures and opens up possibilities for reinterpretation.

Critiques of Steyerl' s position highlight the potential drawbacks of embracing poor images.Erika Balsom^[12] contests the romanticization of the poor image，arguing that while it may seem to promote democratic visibility，it can also perpetuate issues relating to labor exploitation and the devaluation of artistic work.Balsom calls for a more nuanced understanding of how poor images function within the economy of attention and value.

Drawing on these discussions，this study positions image decaying not merely as a destructive act but as a creative intervention that deconstructs visual information to foster new artistic expressions.Aldo Pellegrini^[13] articulates the innate human impulse to destroy as a means of knowledge and affirmation.Pellegrini notes that destruction can be a precursor to creation，stating that “nothing can be construed without a prior stage of destruction”^[13].This perspective aligns with Mark Fisher’s view of destruction as a transformation leading to new qualities^[14].

In practice，the process involves the repetitive deconstruction and reorganization of the surface texture of an image.Through cycles of printing，physically altering the printed image，photographing，and reprinting，the image evolves to accumulate layers of alteration that contribute to a rich repository of material for moving image editing.Each iteration introduces new elements，textures，and artifacts，embodying the concept of apophenia—the tendency to perceive patterns or connections in random or meaningless data.This phenomenon becomes a creative tool，allowing unexpected visual relationships to emerge from the decayed images.

As Krishnan^[15]reflects on Steyerl' s essay，poor images “may lose quality as images，but they gain speed and meaning because of the number of people who are acting upon them.” This observation underscores the collaborative and accumulative nature of image transformation in the digital era.The constant reworking of images by different individuals embeds them with diverse contexts—personal experiences，cultural references，emotional responses—which enrich the images and influence subsequent reinterpretations.By integrating these theoretical frameworks and critiques，this study contributes to the state of the field by highlighting the transformative potential of image decaying as an artistic practice.It acknowledges both the creative possibilities and the complexities associated with image degradation，situating the work within a broader discourse on the evolution of images in contemporary art and digital culture.

In the process of image decaying，more images are created through the interaction of apophenia and traces.Steyerl^[16] refers to Wikipedia to define apophenia “as the perception of patterns in random data.” She gives the most common example of apophenia as people seeing faces in clouds or on the moon.As Benjamin Bratton^[17] argues apophenia means，“drawing connections and conclusions from sources with no direct connection other than their indissoluble perceptual simultaneity.” This means that apophenia is，in fact，an associative approach to image morphology.In this paper，the reproduction process of image decaying draws on apophenia to reassociate traces to respond to moving image editing.Specifically，as the artist deconstructs the repetitive nature of the surface texture of the image，the creative imagination spurred by apophenia aids them in responding to and selecting how the texture traces from each phase can be further processed artistically.This means that by perceiving new patterns and connections within the decayed textures—patterns that may not have a prominent link to the original image—the artist is guided in making creative decisions about subsequent alterations.The interplay between apophenia and these traces transforms how images evolve during decay，allowing innovative artistic expression in moving image editing.

In image reproduction，image decaying can be seen as a means of destroying the visual information of an image in order to enrich the content and meaning of the image，which further provides meaningful material for the editing of printed moving images.The relationship between print，image and moving image needs to be further discussed to establish a correlation between editing the printed moving images and the printing process.

4　Exploring Image Decay and Transfor mationin Artistic Practice

The interplay between destruction and creation is a recurring theme in contemporary visual art.As previously discussed，HitoSteyerl’s concept of the “Poor Image” highlights how images degraded through numerous reproductions gain new meanings and contexts despite their loss of quality.This notion relates closely to the process of image decaying，where deliberate degradation is used as a creative strategy to reveal new aesthetic possibilities and conceptual insights.Decaying images disrupt the conventional perception of visual content，allowing for apophenia—the tendency to perceive meaningful patterns within random or chaotic data.

An artist who embodies these principles in his work(Figure 1)is the cutting-edge Japanese photographer Daisuke Yokota.Yokota employs image decaying techniques that involve iterative printing cycles，physically altering the surfaces of printed photographs，re-photographing them，and repeating this process multiple times.Methods such as burning，scratching，applying chemicals，or exposing the prints to light during development introduce unpredictability and degradation into the images.These techniques align with the concept of image decaying as they intentionally deconstruct and reconfigure visual information to generate new content.

Yokota extends the conceptual framework of his practice by integrating musical concepts from electronic musician Aphex Twin，particularly echo，delay，and reverb，into his photographic experiments.In music，echo and delay involve repeating sound over time，creating a layering effect that can alter the listener' s perception of rhythm and timing.Reverb adds depth by simulating acoustical reflections，enriching the spatial quality of the sound.Yokota translates these auditory concepts into visual form，applying them to the photographic medium to manipulate the perception of time and space within his images.

By repeatedly processing and altering his photographs，Yokota creates a visual equivalent of echo and delay，where previous iterations of the image resonate within the subsequent versions.This visual echo manifests as residual marks，textures，and distortions that accumulate with each cycle of manipulation.The reverb effect emerges through the depth and complexity added to the images，as layers of alterations create a rich，immersive visual experience.

Through these methods，Yokota aims to transform how time is visually perceived in his work.Traditionally associated with capturing a singular moment，the photographic medium becomes a dynamic canvas where time is expanded，compressed，and reinterpreted.His process embodies the act of transformation，not just in the physical alteration of materials but in the conceptual shift of photography' s relationship with time and memory.

Yokota' s practice demonstrates how borrowing concepts from one artistic discipline—in this case，electronic music—can innovate and enrich another.By bridging auditory and visual modalities，he challenges viewers to reconsider their perceptions of both mediums and invites an exploration of how sensory experiences can be intertwined.

Fig.1　Daisuke Yokota，Untitled，Photograph， 2015，©Daisuke Yokota

Building on the theoretical and practical foundations established by Steyerl and Yokota，Xiaoqiao Li’s work(Figure 2)explores the integration of image decay techniques within the realm of printed moving images.While Yokota concentrates on still photography，Li’s practice extends these ideas into time-based media，investigating how images' iterative degradation and transformation can influence the perception of time in motion.

Fig.2　Xiaoqiao LI，Textural Imagery，Printed moving image，1'28″，2019，©Xiaoqiao LI

By employing similar processes—printing images，physically altering their surfaces，re-photographing them，and repeating these actions—the resulting footage accumulates layers of visual information that reflect both the passage of time and the history of its own creation.Concepts such as echo，delay，and reverb manifest as visual motifs that evolve throughout the moving image，fostering a dialogue between past and present frames.This approach cultivates a temporal complexity that allows viewers to experience time in a linear fashion and as a multifaceted construct，resonating with the layered textures and rhythms found in electronic music.

Furthermore，Li’s work contributes to the ongoing discourse by highlighting the significance of materiality and process in the digital age.In a time when images are often intangible and infinitely reproducible，the introduction of physical interventions and an embrace of the unpredictability of decay reintroduces a tactile dimension to image production.This challenges the notion of pristine digital imagery and aligns with discussions surrounding the ‘poor image，’ inviting questions about value，authenticity，and the aesthetics of degradation.Through this practice，the artist aims to deepen the understanding of how image decay can act as a bridge between various art forms and concepts，enriching both the theoretical framework and practical applications within contemporary art.

While Daisuke Yokota incorporates musical concepts such as echo，delay，and reverb to guide the processual transformation of images，Li has deliberately chosen to avoid considering the concept of music in his practical research.Instead，his approach focuses on a conceptual reflection on the printmaking process and harnessing apophenia' s creative and imaginative capacity.This focus allows him to explore the intrinsic properties and methodologies of printmaking，leading to new insights and contributions within the field of visual arts.By examining how the principles of repetitiveness，contingency，materiality，and layering inherent in printmaking can be applied to image degradation，Li aims to expand the understanding of how traditional print techniques can inform contemporary artistic practices，particularly in the digital realm.

To achieve this，Li uses various methods—both analogue and digital—to degrade the image.These methods are inspired by the physical processes of printmaking，where the act of repeatedly transferring an image from one surface to another introduces variations and transformations.By treating the image itself as a “plate” or “matrix，” he conceptually repositions the digital image to function as the origin point or template from which multiple iterations can be produced.In printmaking，a “plate”(or “matrix”)refers to the physical surface—such as a metal plate，woodblock，or lithographic stone—that holds the design to be transferred onto paper or another substrate.In Li’s work，the digital image serves this role，becoming the foundational element that undergoes successive processes of manipulation and reprinting.He bridges traditional printmaking concepts with contemporary digital practices by redefining the digital image as a plate/matrix.This approach generates new knowledge by demonstrating how classical techniques can be adapted to digital media，creating innovative pathways for artistic exploration and contributing to the discourse on materiality and process in art.

Then，Li examines new results through the editing process of the moving image.After each imaging step，degradation has been captured and stored in the digital archive of the edited footage from the moving images;he borrows digital image editing tools to alter the footage again.Li has overlapped and blurred the different stages of the footage，utilizing frame rates to manipulate the moving degradation effect for compositing.After constant compositing and editing，the final printed moving image effect takes on a strange and ambiguous artistic effect，which is interpreted from a maker' s point of view by the implementation of decayed footage and rapid montage in building a sense of apophenia.

Japanese artist Takeshi Makino' s work Memento Stella (2018)(Figure 3)exemplifies existing practices that engage with apophenia and image transformation.According to the press release for his exhibition at Empty Gallery^[18]，Makino transforms familiar representational images—such as snow，water，leaves，and buildings—into swarms of particles and shimmering clouds of light through the deployment of superimpositions，frame rate processing，and multiple exposures.These techniques render the images invisible and eccentric，transcending mere visual spectacle to evoke deeper cognitive and emotional responses.

Fig.3　Takeshi Makino，Memento Stella，Film，60min， 2018，©Takashi Makino & Empty Gallery

Memento Stella is not just a rhythmic，hallucinatory experience full of aesthetic and formal anomalies;it engages the viewer on multiple levels by combining qualities such as depth and flatness，movement and stillness，abstraction and figuration in contradictory ways.This interplay challenges conventional perceptions and encourages viewers to question the boundaries between reality and abstraction.The constantly shimmering and morphing visual elements act as stimuli that continuously alter and engage the viewer􀆳s imaginative senses，prompting reflections on themes like impermanence，the fluidity of perception，and the subconscious mind' s role in constructing reality.

Beyond optical effects，Makino' s work invites introspection and a personal exploration of meaning.By transforming recognizable imagery into abstract forms，the work taps into the psychological phenomenon of apophenia—the tendency to perceive meaningful patterns within random or ambiguous data.This allows viewers to project their emotions，memories，and associations onto the visuals，creating a profoundly individualized experience.The work acts as a conduit for exploring concepts of memory，time，and the ephemeral nature of existence，encouraging viewers to contemplate their relationship with the world around them.

In this study，we are not merely examining the decay of the image;we are actively utilizing this decay as a creative process to generate new images through the interaction of apophenia and trace.By intentionally degrading images，we explore how the residual traces and fragmented forms can stimulate the viewer' s imagination to perceive new patterns and narratives.This approach is driven by a desire to investigate the transformative potential inherent in the disintegration of visual information.

We focus on image decay to challenge traditional notions of destruction and creation，highlighting how deterioration processes can give rise to new aesthetic possibilities and meanings.This is relevant to contemporary discussions in art，where there is an increasing interest in impermanence，entropy，and the viewer' s role in meaning-making.By embracing decay，we aim to uncover the latent possibilities within degraded images，demonstrating how fragmentation and loss can lead to innovation and a deeper engagement with the artwork.

Xiaoqiao Li’s printmaking practice contributes to the broader discourse on perception and the artistic process by emphasizing the active participation of the viewer' s mind in constructing meaning from visual stimuli.It aligns with Makino' s exploration of apophenia，as both practices utilize abstraction and transformation to evoke personal interpretations and emotional responses.By situating Li’s work within this context，we underscore the relevance of image decay as a method for expanding visual art' s creative potential and fostering a more interactive relationship between the artwork and the viewer.

The occurrence of glitches as a creative force plays a significant role in expanding the possibilities of artistic expression，particularly in the digital realm and printing processes.Glitches—unintended errors or malfunctions in digital systems—are often perceived negatively;however，they can be harnessed artistically to introduce unpredictability，spontaneity，and new aesthetic qualities into artwork.The agency and power of mistakes and glitches lie in their ability to disrupt standard processes and reveal hidden structures within digital media，allowing artists to explore uncharted creative territories.

In printmaking and moving image creation，glitches can manifest through digital printing errors，data corruption，or intentional manipulation of software and hardware limitations.By embracing these imperfections，artists can generate unique visual effects that challenge traditional notions of craftsmanship and perfection in art.Historically，the use of chance and error has been explored by artists associated with movements such as Dadaism and Surrealism，who valued the role of randomness and accident in the creative process.More recently，glitch art has emerged as a genre that foregrounds digital errors as aesthetic and conceptual elements，highlighting the creative potential of technological failures.

The creative force of glitches offers unlimited potential in collecting material for moving images.The unexpected outcomes produced by glitches serve as a rich source of inspiration and raw material for editing and composition.Furthermore，the phenomenon of apophenia—the tendency to perceive meaningful patterns within random or chaotic data—plays a crucial role in this creative process.Apophenia influences the selection of images to be printed.It determines the editorial structure of the printed moving image as artists interpret and recontextualize glitches to construct new narratives or visual experiences.

In our research，we aim to explore the potential of the moving image editing process as a means to expand the field of contemporary printmaking by translating the static printed image into a time-based image.In this context，“translating” refers to the conceptual and procedural conversion of a still，tangible print into a dynamic，temporal medium—the moving image.This translation is not merely visual but involves reinterpreting printmaking' s material qualities and processes within the digital realm of time-based media.

We chose “translating” because it encapsulates the idea of conveying meaning and properties from one medium to another while acknowledging the transformations during this process.Just as linguistic translation involves interpreting and expressing the essence of a message in a different language，this artistic translation involves reimagining the static properties of a print within the temporal and sequential framework of moving images.The term emphasizes the interpretative and transformative aspects of the process，highlighting how the original print informs and shapes the resulting time-based work.

In this approach，the print serves as a fixed trace of the printed moving image—both a tangible artifact and a still image containing all the processual aspects of its creation.The material properties of the still image are utilized as sub-images or frames within the printed moving image，integrating the physicality of printmaking with the fluidity of time-based media.By doing so，the work bridges the gap between traditional printmaking and contemporary digital practices，offering new ways to experience and understand the interplay between static and dynamic visual art forms.

We highlight how embracing mistakes and imperfections can lead to innovative artistic outcomes by introducing glitches earlier in the creative process and foregrounding their agency.This focus on glitches and their creative potential enriches digital art and printmaking discourse，demonstrating how artists can harness errors to push the boundaries of visual expression.The printed moving image is a whole，where the inference from the macro to the micro is that the printed moving image is made up of several printed still images(frames).In other words，the printed moving image is understood on a conceptual level as a printmaking work with a clear sense of time and an implicit sense of materiality.

5　Conclusion

In this study，we have explored image decaying as an artistic act of deconstruction and reconstruction，examining how this process unlocks new creative potentials within visual art.By intentionally degrading images，we facilitate the emergence of apophenia，allowing viewers to perceive new patterns and meanings within the transformed visuals.This phenomenon serves as a key to unlocking the journey of trace imagination，where the interplay between the original image and its decayed iterations generates a rich tapestry of interpretative possibilities.

Through our investigation into the expanded field of printmaking，we have demonstrated how the printed moving image bridges the gap between static prints and time-based media.By understanding moving images in terms of print，we have developed an analytical framework that elucidates the relationships between images，printed images and printed moving images.This framework reveals that when a print is translated into a moving image，there is a significant transformation in both the material properties and the sense of time inherent in the work.The temporal dimension，previously hidden within the static print，becomes visualized and navigable within the moving image，offering a flexible and imaginative editorial space for both artists and viewers.

The main insights of this research highlight the innovative potential of integrating printmaking techniques with digital moving images，challenging traditional boundaries within visual arts.We repurpose printmaking concepts to inform contemporary digital practices by treating the image as a plate or matrix.This approach not only enriches the work' s aesthetic qualities but also contributes to knowledge creation by introducing novel methodologies for artistic exploration.

The implications of this study are multifaceted.Regarding impact，our findings encourage artists to embrace decay，glitches，and transformation processes as legitimate and valuable creative strategies.This perspective can lead to further developments in transdisciplinary practices，where techniques from printmaking，photography，digital art，and even music converge to produce innovative artworks.Translating static images into time-based media opens up new possibilities for interactive installations，virtual reality experiences，and multimedia performances，fostering collaborations across different fields.

Potential for further research includes exploring the role of viewer interaction in the perception of decayed images and investigating how audiences engage with and interpret the emergent patterns resulting from apophenia.There is also scope to examine the environmental and material considerations of combining analogue and digital processes，contributing to sustainable practices within art production.

In conclusion，this study underscores the value of reconceptualizing traditional artistic methods within contemporary contexts.By embracing image decay and the creative force of apophenia，artists can expand the horizons of visual expression，offer fresh perspectives and enrich the dialogues within the art community.The integration of printmaking and moving images revitalizes the shared interests in these mediums.The interdisciplinary approach presents opportunities for innovation and cross-disciplinary synergy，paving the way for future explorations in art and beyond.

Acknowledgments:The overall structure and conception of this paper are based on the first author’s presentation，with the title ‘Image Decaying:Exploring Materials，Surfaces and Time within Printmaking and Moving Image Editing’，on 2 December 2021 at the 4th International Mokuhanga Conference，which was held at the Nara Kasugano International Forum IRAKA，Nara，Japan.

Conflict of interest:The authors declare no conflict of interest.

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Tracing Decay:A Study of Image Degradation in Print and Moving Images

LI Xiaoqiao, WU Yanjing^*

(Department of Creative Arts, School of Arts and Social Sciences, Hong Kong Metropolitan University, Hong Kong 000000, China)

Abstract: This paper investigates how the decay of images can generate new visual forms through the interplay of apophenia and trace. In the context of the dissolution of traditional disciplinary boundaries in the arts, contemporary printmaking has evolved into a cross-media creative practice, transcending conventional limitations. By focusing on the reproduction process—not through traditional editioning in printmaking but by employing various methods to degrade the surface of the same printed image—the study examines how image degradation can produce new aesthetic outcomes when combined with moving image editing techniques. The methodology involves a comparative analysis of the material properties, surface characteristics, and temporal dimensions of prints and printed moving images. Through iterative printing cycles, physically altering the printed image, photographing, and reprinting, the image undergoes gradual decay, accumulating layers of transformation. This process deconstructs the original image, allowing for new visual patterns and meanings facilitated by apophenia—the tendency to perceive meaningful patterns within random or ambiguous data. By intentionally degrading images, the residual traces and fragmented forms stimulate the viewer' s imagination to perceive new connections, expanding the medium' s creative potential. Integrating moving image editing into this decaying process demonstrates how the static nature of prints can be transformed into dynamic “printed moving images” that embody print and time-based media characteristics. The moving image editing process captures each stage of image decay, manipulating them using digital editing tools to create a temporal sequence. This fusion challenges conventional distinctions between printmaking and moving images, highlighting printmaking' s dynamic and evolving nature in the digital age. The core findings reveal that the decaying process, combined with moving image editing, creates an expressive system of visual language that is both independent and integrative. The study emphasizes that a “print” is not just a static entity but can evolve into a “printed moving image, ” bridging static prints and dynamic moving images. This approach expands the field of contemporary printmaking, demonstrating its potential for interdisciplinary crossover by employing multiple languages and actions. It underscores the transformative potential of image decay as an artistic practice, where embracing decay as a form. of deconstruction and reconstruction allow artists to unlock new creative potentials. Contributing to the broader discourse on the evolution of images in contemporary art and digital culture, the research highlights the value of reconceptualizing traditional artistic methods within contemporary contexts. By engaging viewers through the interplay of apophenia and trace, the study enriches dialogues within the art community and paves the way for future explorations in art and beyond. This fusion of printmaking and moving image editing challenges conventional distinctions and exemplifies the dynamic nature of printmaking, offering new possibilities for artistic expression in the digital age.  

Keywords: Image decay, apophenia, moving image editing, contemporary printmaking, visual language integration

DOI: 10.48014/aas.20241120001

Citation: LI Xiaoqiao, WU Yanjing. Tracing decay: a study of image degradation in print and moving images[J]. Advances in Art Science, 2024, 1(1): 79-92.